City Dionysia - The Bacchae: On Its Feet

Now that the cast is better acquainted with their respected characters, rehearsal time can begin. Kevin Landis (director) wants them memorized and blocked (stage directions know) as soon as possible, as the music department (that is creating live music for the show) will need to get a feel of the show to better create the tones that go under it. Since there were two different shows going on in the Bon Vivant during the early stages of rehearsal, the practice spot was a class room next to the Osborne Theatre. This space was marked out by the stage manager with tape so the actors would know what they would have to work with once the set was built. This was extremely important as the stage is relatively small, and is theater-in-the-round style.

The main props of the Bacchae are the thersi that is toted by the chorus and sometimes Dionysus. These staffs are one of the characteristics that make a Dionysian follower (almost fallace like.) Since these are such important props, they cannot be mimed. Likewise, for the blind seer Teiresius, a seeing staff is needed. Random sticks and piping are used in place of the wooden joyrods the chorus with receive come production week.

The chorus of Asian Women, though not as frightening as their Bacchus crazed counterparts, are still very animalistic, tribal and rugged. Flexibility and strength is a must. Monologues addressing the audience can be as long as ten minutes or more, sometimes causing the chorus to be in a frozen, tip-toed state. Kevin Landis (Director) warms up the chorus with “plastiques” very loud and strange movements and poses that are always on the toes, even when they are low. Until bodies adjust, rehearsal will not be kind to the chorus.

Next Post: Bacchus Crazed Beats – Music of the Bacchae

“Come Bacchae! Come Bacchae! Escort the god and son of god, Dionysus!”